S5 E4 According to Harpy
by Harpy101
Summary: A lot about Thomas. Anna and Bates have a chance to reassess their strengths and reserves. New questions for Lady Mary. A new revelation for Daisy. Hughes has a moment with Bates. Tom has questions posed to him. Baxter has a painful moment, and a sweet one.


PRE-DAWN. SERVANT'S ENTRANCE FROM COURTYARD.

_Thomas exits in coat and cap__. He hunches up his collar  
against the misty cold, lights_ _a cigarette and walks off  
toward the village._

DOWNSTAIRS HALLWAY. MORNING.

_Mrs. Hughes stops in Carson's office doorway._

HUGHES  
Well, then. How did you get on?

_His face lights up seeing her before he can control his_  
_expression. Then he suddenly lets down his guard, resuming_  
_the ease that they've shared for years._

CARSON  
Come in. I've much to tell you.

_Carson's office door shuts._

CAR INTERIOR. MORNING.

_Tom is driving Sarah from home to back to school._

TOM  
Barely any damage to crops and  
buildings. Good to see.

SARAH

_Is staring at Tom._

TOM  
What?

SARAH  
Are you a romantic?

Tom  
No.

_Sarah still stares. Now she is amused._

Sarah  
Yes, you are.

Tom  
I'm a communist.

SARAH  
It's nearly the same thing.

TOM  
It is not.

SARAH  
Look at Russia. Is there a more  
romantic country on earth?

TOM

_Tom isn't sure how to answer now._

SARAH  
Have you seen the local school?

TOM  
No, I haven't.

SARAH  
When will your daughter be ready to  
attend school? Two years, three?  
As a father aren't you curious  
about what the local school system  
has to offer? Or will she be sent  
away to school?

TOM  
She will go away to school when  
she's old enough to present more  
than one persuasive argument in  
favor of it. (Pause) More than  
three persuasive arguments.

SARAH  
(Laughs)  
Well, then, why don't you come in  
and see it? It's Sunday-I'm just  
doing some preparations for the  
week.

Long silence.

SARAH (CONT'D)  
You should put down roots or run.  
One or the other.

TOM  
What-

SARAH  
I mean that you have family in  
Liverpool and Ireland and America,  
but you stay because she loved  
them.

_He knows what she means and doesn't answer._

SARAH (CONT'D)  
You stay for her love for them.  
But still you can barely stand to  
stay. Why not make a plan? Look  
at your options and make some  
decisions.

TOM

_Looks sideways at her.  
_  
Why are you-

SARAH  
Well, you're quite nice. But I  
wonder how long you'll stay here.

TOM  
I want to help make the estate  
work.

SARAH  
Suppose it doesn't after all?  
You've put it all in to help her  
family. Even though they aren't  
your sort of people.

TOM  
I suppose, yes.

SARAH  
(Nods) Romantic.

_They stop in front of the school and Sarah begins to get out_  
_of the car._

SARAH (CONT'D)  
Thank you for the ride.

They look at each other.

SARAH (CONT'D)  
Please come in and see the school.

CARSON'S OFFICE. MORNING.

HUGHES  
Has Lady Mary told His Lordship?

CARSON  
It's early yet.

HUGHES  
He's not my favorite. He's not a  
favorite of anyone. But he does  
know the job. Will you give him a  
reference?

CARSON  
I will. I'm not enthusiastic about  
it.

HUGHES  
Why would he-

CARSON  
To undermine Daisy and Anna. Why  
else?

HUGHES  
It's seems a lot of trouble to go  
to for that. And risky.

CARSON  
Who knows why that sort - do what  
they do?

_Knock on the door. Anna peeks in._

ANNA  
Shall I come back?

HUGHES  
No, Anna, come in.

_Hughes takes the keys from Anna._

HUGHES (CONT'D)  
Well, I've heard excellent reports  
about you. Not that I'm surprised.  
Congratulations.

ANNA  
One night was easy enough.

CARSON  
It was not an easy night for any of  
us. You held the house together at  
top standard on a very challenging  
evening. I could not have asked  
more of anyone. (Looks pointedly at  
Hughes) Even you.

HUGHES  
Oh! Am I replaceable then?

CARSON  
(a bit too vehemently) Of course  
not!

HUGHES  
(To Anna)  
You'll do very well as head  
housekeeper if you ever decide you  
want it. You should be my next in  
line.

_Anna is a bit uncomfortable now. There is an awkward_  
_silence._

HUGHES (CONT'D)  
Or-you could continue as a lady's  
maid. You don't have to decide  
now, of course. I imagine Lady Mary  
will be glad to have you back.

NURSERY. MORNING.

_Blake is teaching George "Pat a Cake". They are both_  
_laughing. Mary stops outside the door in the hallway to_  
_listen._

_Blake picks up George and holds him comfortably, with_  
_George's head on his shoulder; they look out the window_  
_together._

BLAKE  
What do you think then, eh, George?  
Quite a nice morning for a ride  
out. We'll talk to the farmers  
this morning. Perhaps we'll visit  
the sheep, or the cows. What does  
the sheep say? Bah-bah-bah! And  
what does the cow say?

_Mary steps into the nursery._

MARY  
I believe it's "moo".

BLAKE  
Look, George! Why there's Mummy!  
Isn't Mummy pretty this morning?

MARY  
You might want to go easier.

BLAKE  
And what would that accomplish?

MARY  
I might lose some of the sensation  
of bombardment.

BLAKE  
I like this young man. He has a  
calm about him. Must get it from  
his father.

MARY  
Please don't joke about Matthew.

BLAKE  
You misunderstand me. That was a  
joke about you.

_Mary's jaw drops a bit._

If I were to raise George I would  
raise him as my first born but I  
will see to it that he never  
forgets his father. That he  
respects his father's memory in  
every way. And George can choose  
his own destiny.

_Blake bounces George. George grabs one of Blake's fingers_  
_and Blake grins at him._

He can be a professional if he  
would like or he can run the  
estates. With two fathers to look  
to, his choices are broader. He'll  
be ready for the world ahead.

MARY

_Still stares at him._

BLAKE  
Bombardment, is it?

HIS LORDSHIP'S DRESSING ROOM

_Bates is holding a jacket for His Lordship, who slides his arms into the sleeves._

BATES  
As I said, I witnessed nothing  
myself.

ROBERT  
He's been here for so long! Why  
risk such a thing? If he was  
truly that sort wouldn't we have  
seen some indication before?

BATES  
Well, if you recall-

ROBERT  
It's not about which way he goes.  
You've known a few of them, as I  
have. It's not a-personality.

BATES  
I do agree. But Thomas's  
personality-

_Robert turns. Bates begins fixing the various fasteners on the jacket._

ROBERT  
Did Mary seem especially upset last  
night? I didn't see it in her, but  
perhaps she-well, you know how at  
times a woman's sensitive nature-

BATES  
I've never known Lady Mary's  
emotions to get the better of the  
facts in her mind, if I may be so  
bold, My Lord.

ROBERT  
(laughs)  
Not even as a small child. The  
facts were always important to  
Mary.  
It just seems a bolt from the blue.

BATES  
Do you recall the incident of  
theft? And I'm sure Mr. Carson  
will have his insights to add.

_Bates begins brushing down the jacket._

ROBERT  
It almost seems you'd like to see  
him go.

BATES  
I'm fond of Daisy. But he also  
endangered my wife, if indirectly.

ROBERT  
Of course, yes. I know how I would  
feel.

BATES  
Point of fact, he could have  
endangered everyone in the house,  
My Lord.

_Bates has finished brushing. _

_Robert is pensive. He glances back at Bates and leaves._

FARMHOUSE INT.

_Edith holds Corinne in her lap._

Mr. Drewe enters the nursery.

MR. DREWE  
That's the danger.

_Edith looks up and Mr. Drewe smiles at her._

MR. DREWE (CONT'D)  
Once a child gets under your skin,  
there's no going back.

_Edith smiles back. They both watch the baby for a moment._

MR. DREWE (CONT'D)  
You must have been very fond of her  
mother.

EDITH  
Yes. But I admit, I'm more fond of  
her child than I expected to be.

MR. DREWE  
Would you like to take her out?  
It's a very fine morning. They  
won't be back from church for  
another hour.

EDITH  
I'd love nothing more but I must  
go. I'm off for London first thing  
tomorrow. Mr. Drewe-I know you're  
right. We do grow attached to  
children. So I'll be very sorry if-

MR. DREWE  
If what, My Lady?

EDITH  
I hope-that I will not have to move  
Corinne from here. But that might  
be in her future. Other-friends of  
the mother are involved. I hope you  
and Mrs. Drewe would not be too  
hurt by that.

MR. DREWE  
I wouldn't be concerned with us, My  
Lady, so much as the child.  
Children need stability to grow  
strong and secure. Too much change  
too early can make them nervous and  
vulnerable as adults.

EDITH  
Well, as I say, I hope that will  
not be the case. But I do  
understand what you are saying.

_Edith stares at Corinne. Drewe takes Corinne from Edith._  
_Edith is loathe to release her, but reassured by the way he_  
_holds her._

OUTSIDE THE ESTATE. BLAKE AND MARY WALK TOGETHER.

MARY  
I know Matthew made me a better  
person. He was the only one who  
did. George is a bit of Matthew for  
me to answer to.

BLAKE  
And what am I?

MARY  
I don't know yet. You're strong.  
You've got the brains for the job.  
And as it turns out we're on the  
same side of the fight. But I must  
be honest about my feelings, and  
they are not entirely clear to me  
yet.

BLAKE  
And your heart I will not do  
without.

MARY  
And I-I'm not sure. And I can't-

BLAKE  
I would never ask you to take an  
action without your heart fully in  
it. You don't do anything half  
way.

MARY  
It sounds very strange but-I don't  
know who I am.

BLAKE  
And the minute you do know, you  
won't know anymore.

MARY  
What do you mean?

BLAKE  
We change all the time. The minute  
you know someone, even yourself,  
you're different. That's why I  
like children. They're honest  
about it. One day they like  
something, the next day they don't.  
They don't try to stay the same.

_Blake sighs and stops, facing her._

Mary, we need to look at the  
numbers. I've new information from  
the board, so we need to reassess  
our developments for Downton and  
make projections. You've done a  
tremendous amount, but it may not  
be enough. And if it's not-it's  
better to know now. We should meet  
next week, and I'll have more  
figures for you. For now, Evelyn  
and I must be off.

KITCHEN. TEA TIME.

CARSON  
Since the Sunday roast was made  
last night-

PATMORE  
Good thinking. With eleven for  
dinner! It's what I would have  
done. We'll have a family favorite  
tonight, chicken pie.

CARSON  
It's quite a good philosophy, to  
make twice what you need when bad  
weather comes in. It saved us last  
night.

PATMORE  
What philosophy was that?

CARSON  
Daisy said that you said-that you  
always make twice what you need  
when-

PATMORE  
Daisy said that? (Laughs) I don't  
know where she got that. I've  
never said such a thing.

_Carson pauses a moment in the hallway to sigh and shake his_  
_head. He enters the dining hall to see Hughes making up a_  
_tray._

DINING HALL

_Staff at the table stand. They then sit._

CARSON  
Is that-

HUGHES  
He hasn't been down.

CARSON  
I'm sure he can come down on his  
own.

HUGHES  
If it's alright with you-

CARSON  
Of course if you must-and of course  
you weren't here when-

ANNA  
Mrs. Hughes, if you're busy I'll  
take it up.

_Bates stares at Anna. They lock eyes._

HUGHES  
No, I've got it. And I admit I'd  
like to hear what he has to say for  
himself.

CARSON  
Well, don't miss your own lunch.

_Hughes gives Carson a look and leaves the kitchen with the_  
_tray._

ANNA  
(Under her breath) What is it?

_Bates is trying not to smile and keeping his voice very low._

BATES  
I suppose I want to be the only boy  
in the world who's had you bring a  
tray.

_Anna is giggling. Bates is laughing as quietly as possible._

_Anna reaches under the table and sides her hand into his._

_Anna looks across the table at Baxter who is reading a_  
_letter, and has gone pale. Baxter rises and leaves the dining_  
_hall. Anna follows her to the boot room._

BOOT ROOM

_Baxter stands in a corner behind the door._

Anna peeks in.

ANNA  
Miss Baxter. Are you alright?

BAXTER  
Yes, Mrs. Bates, quite.

(BEAT)

ANNA  
If you tire of keeping it to  
yourself, you know where I am.

_Baxter looks at her gratefully. Baxter and Anna hold a long,_  
_silent look._

ANNA (CONT'D)  
If it's to do with Thomas-

BAXTER  
It might have been. But the time is  
past for worrying about that now.

_Anna goes to Baxter and takes her hands. Baxter and Anna_  
_stand silhouetted in the boot room, Baxter's head bowed._

WAGON DRIVING OUT OF THE VILLAGE. DAY.

DAISY  
Thank you for taking me to the  
doctor.

MASON  
So all you'll need is that ointment  
now, eh?

DAISY  
It's not that bad. Lady Mary knew  
what to do.

MASON  
I expect you're experienced with  
burns in the kitchen.

DAISY  
We are, but I wouldn't have had  
time to do anything, and most of  
the kitchen maids are too new to  
think on their feet. You have to  
tell them everything. I'm grateful  
to Lady Mary.

MASON  
How was it, being head cook?

DAISY  
I had this feeling about the night  
ahead-and I listened to it. I made  
the roast a day early. Most didn't  
complain. If I hadn't done that-

MASON  
Trusting your instincts is  
important. You can't farm without  
that.

DAISY  
I think I'd like to start learning  
the farm. I love cooking. But I  
don't think I want to do only that  
for too much longer.  
Especially after last night. I  
love it-but only because of the  
result. Does that make sense?

MASON  
It does to me. It's alright doing  
a thing for the rest of your life  
if you take pleasure in the detail,  
in the doing. But if you only feel  
satisfied when you get a result,  
it's not a real love of the craft  
of it.

DAISY  
That's it. That's what I mean. I  
do love cooking, but-not like a  
real cook loves it. I'd like to  
start coming out and learning the  
farm.

MASON  
Why don't we start now?

DAISY  
Now?

MASON  
I'll show you the chickens. Just  
that for today. What do you think?

DAISY  
I don't have to be back until after  
tea.

MASON  
Let's to it, then.

CARSON'S OFFICE

MARY  
He's-gone?

HUGHES  
Some of his personal effects are  
still there. So he'll most likely  
be back. Maybe he went off to  
think.

CARSON  
A generous assumption.

MARY  
But probably correct. I haven't  
talked to Papa about it yet.

CARSON  
Whatever you would like to do, My  
Lady-

MARY  
Well, it is Sunday. We don't have  
guests tonight. Let's give it a day  
or two. Perhaps that's best. And  
I'll talk to Papa.

HUGHES  
Very good, My Lady.

_Mary exits Carson's office and walks up the back stairs,_  
_meeting Anna._

MARY  
How did you find the blue silk?  
Will it be ready for next week?

ANNA  
Yes, My Lady. It's ready now.

MARY  
Thank you, Anna.

ANNA  
Urm-My Lady, may I go to my  
friend's funeral tomorrow in the  
late morning? We'll miss tea. I  
wanted to make sure there was  
nothing else pressing.

MARY  
Oh, of course! I am sorry about  
Mrs. Wright. She was a very good  
friend to you. It will be quite a  
loss.

ANNA  
I'm so fortunate to have known her  
at all.

LIBRARY. AFTERNOON.

_Rose is on the phone, looking around as she speaks in a_  
_low voice._

ROSE  
Yes, I've done it. I've sent the  
telegram. (BEAT) No, of course I  
want to see some of London society.  
But Mummy would love it so much,  
you know? She would act as though  
it were HER behind it, and that I  
was- (BEAT) But I will. It's just  
that, the very minute someone  
suitable is dug up and I even half  
like him they'll have me married  
off, and Mummy would love that, too-

HUGHES' OFFICE. EVENING. THE TABLE IS SET FOR TEA.

BATES  
How was London, and your meeting of  
the suffragettes?

HUGHES  
London was very enjoyable, thank  
you.

BATES  
Have you heard any more about  
Thomas?

HUGHES  
I have not.

BATES  
His Lordship is reluctant to  
believe it.

HUGHES  
That won't sit well with Lady Mary.

BATES  
No, it won't.

HUGHES  
I wonder when he's coming back?

BATES  
It takes time to weigh your  
options, when you're backed into a  
corner.

HUGHES  
It's a corner of his own making.

BATES  
Probably just makes it worse.

HUGHES  
Yes. I-in London-

_Hughes does not know how to get into what she wants to say._  
_She plunges in._

HUGHES (CONT'D)  
-I was on one of those busy street  
corners with the lorries going by  
and all the people crowding at the  
edge of the street. And Mrs.  
Patmore nearly fell.

_Bates is looking sharply at her._

And I was thinking about Anna. The  
way she looked right after it  
happened. I don't think I will  
ever erase that from my mind.

_Bates is listening carefully._

HUGHES (CONT'D)  
I spoke to Green one night, after.  
And he was smug and satisfied. He  
denied it at first, but then just  
showed-satisfaction. Happy. Happy  
with himself. That he'd gotten away  
with it. And he thought I was  
protecting HIM. But I thought I  
was protecting Anna. Because the  
worst thing in the world to her is  
for you to go away again. All she  
could think about was you being  
hanged.

_Hughes picks up her tea cup. Her hand is shaking; the cup is_  
_rattling in the saucer. Bates reaches to take it from her and_  
_put it back on the table._

HUGHES (CONT'D)  
I was against lying to you about  
it. But to see her hurt again-to  
see her destroyed-I couldn't bear  
it-

_She grabs his hand._

HUGHES (CONT'D)  
Though we say there's a lid for  
every pot, it's not always true, is  
it? The truth is that love is  
rare. What you and Anna have is  
rare.

BATES  
Yes. I agree with that.

HUGHES  
And honor. It's so hard-won. To  
sacrifice yourself, or risk  
yourself for another. It can come  
at such a cost. It can cost  
everything.

BATES  
Yes.

HUGHES  
Love and honor, Mr. Bates.

_She squeezes his hand and releases him._

HUGHES (CONT'D)  
What in life matters more?

BATES  
Nothing I can think of.

_Hughes and Bates gaze at each other for a long moment._

HUGHES  
Nor I.

NEXT MORNING, 11:30.

THE KING'S ARMS PUB IN RIPON. THOMAS IS ALONE AT THE BAR.

_The bartender, Mick, is watching Thomas. He's young, lean_  
_and blonde with a boyish face and a rakishly confident_  
_attitude._

THOMAS  
I'm your first customer of the day,  
am I?

MICK  
That you are.

THOMAS  
Is it always this slow of a  
morning?

MICK  
I don't know. And I don't mind it  
just now. Change of pace.

THOMAS  
You're new here.

MICK  
Started last week. I'm from  
London. I'll go back after a bit.  
But here is good for now.

THOMAS  
You're not hiding from anyone, are  
you?

_Thomas has surprised himself. He begins to apologize. But_  
_Mick laughs._

MICK  
I won't need to for long.

(He lowers his voice)  
Jealous hearts are soon mended.

THOMAS

_Laughs and takes a long drink of his pint._

MICK  
So, what about you? Been out  
wandering the moors all night? Wife  
kick you out?

THOMAS  
No, at least I'll never have that  
worry.

_Thomas realizes what he has just said and looks_  
_apprehensively at Mick. Mick smiles, lays his elbows on the_  
_bar and leans down, meeting Thomas's eyes._

MICK  
Nor I.

BEAT

MICK (CONT'D)  
Let's have a whiskey, shall we?

FUNERAL PARLOUR, DAY. ANNA, BATES AND SEVERAL PEOPLE, ALL OF  
WHOM LOOK VERY UPPER CLASS, IN BLACK.

WILLIAM WRIGHT

_Approaches Anna. He is tall, handsome, dressed upper class_  
_and looking haggard._

WRIGHT  
Are you-Mrs. Anna Bates?

ANNA  
Yes.

WRIGHT  
William Wright.

ANNA  
Hello, yes. I knew your mother-

WRIGHT  
I am well aware. Is this Mr.  
Bates?

BATES  
Yes. John Bates.

WRIGHT  
William Wright, sir. I was about  
to tell An-pardon me, my mother  
spoke of you so often in her  
letters that I keep almost calling  
you Anna - the letters from my  
mother were full of you. "Anna  
takes me to church, Anna arranged  
my medication," Do you have any  
idea what you were to my mother, to  
me? An angel from above.

_This phrase, also used by Green, gives Anna a chill - but she_  
_recovers quickly._

BATES  
You've just arrived, then?

WRIGHT  
Yes. My wife died last week.

ANNA  
I'm so sorry.

WRIGHT  
I got on the boat as soon as I had  
buried Jennifer. I had hoped to  
reach my mother to see her one last  
time. When they've finally figured  
out the transatlantic flight, that  
will be a fortunate thing for  
people in my position. It wasn't  
soon enough for me. But enough of  
my sob story. Mrs. Bates, you and  
I have some business.

ANNA  
Business?

WRIGHT  
Yes, you are remembered in my  
mother's will. It won't be  
necessary for you to attend the  
reading, unless you want to. But  
it might not be very pleasant.

_Bates and Anna are stunned._

WRIGHT (CONT'D)  
My mother was deeply Christian, as  
you know. She believed that to  
embrace a life of simplicity was  
the best way to follow the  
teachings of Christ. She moved to  
this village, took a small house.  
For a time she worked with the  
poor.  
There will be some surprises at the  
reading of the will and if you were  
there it might be awkward for you.  
But you have every right to be and  
you'd be welcome.

ANNA  
Mr. Wright. I-I am not family. If  
you choose to amend the terms, I  
will not contest anything. I don't  
want-

WRIGHT  
I won't hear of such a thing.

_Wright is gazing around at the mourners._

Imagine how deeply it must have  
hurt, to have all her friends  
desert her because of her spiritual  
beliefs. And she insisted I stay  
with Jennifer until the end, so I  
couldn't be here for her. She  
wouldn't let me hire anyone. But  
then you, without knowledge of any  
of this, helped her simply out of  
the good in your heart. She died  
happier because she had known you.  
She remembered you and I want that  
honored in full. May I bring the  
check round tomorrow night? I'm  
afraid it might be a bit late, I've  
other business in town as well.

ANNA  
If you're sure. As I've said, I'm  
not family-

WRIGHT  
I'll hear no more of it. I'll see  
you then tomorrow evening.

KING'S ARMS PUB. TEA TIME. A BIT BUSIER.

_Thomas now sits at the corner end of the bar, away from the_  
_other patrons._

MICK  
There's a group. Ever read any  
Elsa Gidlow?

THOMAS  
No.

MICK

_Pulls a book from his back pocket, slides the book onto the_  
_bar._

She wrote "On a Grey Thread".

MICK (CONT'D)  
Ever heard of Henry Gerber, Society  
for Human Rights in Chicago?

THOMAS  
No.

MICK  
You need to catch up, young man.  
Times are changing.

THOMAS  
Are they? Not in my hedgerow.

MICK  
Perhaps you need to get out more.

THOMAS  
And go to prison? No thank you.

MICK  
No one wants that. But there are  
people who understand. Who go that  
way. Who meet.

THOMAS  
Sounds dangerous.

MICK  
It is, a bit. But what sort of  
life is it if you're never able to  
be yourself?

VILLAGE BACK STREET. DAY.

_Baxter steps out of a plain car onto the street. Another_  
_car, much more posh, stops directly behind it. The car door_  
_opens. Baxter steps inside, sitting on a seat across from a_  
_young lord. He is in his early twenties, slender, dark and_  
_grave with piercing grey eyes._

BAXTER  
Hello.

YOUNG LORD  
Hello.

_They stare at each other for long moment, drinking each other_  
_in as the car begins to drive on._

YOUNG LORD (CONT'D)  
Thank you for agreeing to meet me.

BAXTER  
You made it sound urgent. But we  
should not be doing this.

YOUNG LORD  
I needed to see you.

Silence.

BAXTER  
How did you find out?

YOUNG LORD  
Death bed confession of Nanny Snow.  
You do remember her?

BAXTER  
Of course I do.

YOUNG LORD  
Well, here we are.

BAXTER  
But what is this about?

YOUNG LORD  
I have a right to know. I have a  
right to-see you.

BAXTER  
What makes you think that? I made  
a promise.

YOUNG LORD  
Under duress. I know what he did  
to you. You don't know how  
troublesome his habits have been.

BAXTER  
And you?

YOUNG LORD  
I'm not like him.

BAXTER  
You have his eyes.

YOUNG LORD  
I do. Yes. But now I see what  
Nanny said about you.

BAXTER  
This is-wrong.

YOUNG LORD  
How can it be? I want to...

BAXTER  
You can't know me. We can't-I made  
a promise.

YOUNG LORD  
Why did you make that promise?

Silence.

YOUNG LORD (CONT'D)  
It was to protect me, the way I  
heard it.

BAXTER  
Yes. And it still is.

YOUNG LORD  
Nonsense. I'm about to be Lord.

BAXTER  
Then even more so, it's not  
possible-

YOUNG LORD  
He fathered three other bastards,  
all women, all scattered across the  
county. I am the heir. As such I  
have a say in my own life.

BAXTER  
This was arrogant and foolish and  
you misled me.

YOUNG LORD  
Please.

BAXTER  
This was cruel, you know.

YOUNG LORD  
I didn't mean it to be. I needed  
to see you. Please. I want to  
help you or-

BAXTER  
Let me out.

YOUNG LORD  
No.

BAXTER  
Twenty-two years ago I was a young  
woman and quite different than I am  
now. You will stop this car and  
you will do it immediately.

YOUNG LORD

_Calls to the driver._

Stop!

_The car stops. He leans forward and grasps her hands._

YOUNG LORD (CONT'D)  
I know we're made the same. I know  
it because I'm nothing like him.

_She pulls away._

BAXTER  
Oh, you are.

YOUNG LORD  
No! I'm not. I'm just-desperate.  
I've always felt apart, lost. And  
now I know why.

BAXTER  
I must go-

_Baxter steps out of the car, slamming the door, and runs away_  
_down the road. The young lord watches her out the window._

ROAD TO THE ESTATE. DAY.

ANNA  
I don't know how I feel about  
taking it.

BATES  
You don't have to. If you want to  
donate to a charity in her memory,  
you could do that.

(Beat)

_They look at each other, thinking the same thing._

ANNA  
But it might help us set up for  
business, perhaps even with some  
put by for emergencies.

BATES  
Why not do both? You know which  
charities she favored. It could be  
in her name.

_Anna stops walking, puts her hand on her husband's chest. She_  
_glances around and seeing no one, tilts her head up for a_  
_kiss._

ANNA  
If I had just met you I would fall  
in love with you right now.

PUB. EARLY EVENING.

MICK  
A sad tale. Of a naughty boy.

_He is smiling at Thomas. Thomas is beginning to feel very_  
_comfortable with Mick._

MICK (CONT'D)  
So, tell me, naughty boy. You  
didn't get your vengeance. What is  
it that you want now?

THOMAS  
I want to not be dismissed.

MICK  
You want to keep working there?

THOMAS  
Yes, I do. And preferably without  
a demotion.

MICK  
When you apologize, you're going to  
have to act as if the apology is  
more important than the job.  
You'll need a gift for the little  
cook. And a short but very good  
speech of contrition. And you'll  
have to MEAN it.

EXT. FADE UP ON THE ESTATE.

CARSON'S OFFICE. MORNING.

_Thomas stands in Carson's office in front of Carson, Hughes,_  
_Anna, Daisy, Lady Mary and His Lordship. Thomas rotates his_  
_cap in his hands. He is in genuine distress, but holding_  
_himself on the edge of his fragile dignity._

THOMAS  
I would like to say something. I  
have been at times a real cad. We  
all know it. I've manipulated and  
lied. I've stolen. I've made many  
mistakes. But I intend to make any  
reparations I'm able to.  
I've come to think of everyone here  
as family. Might seem strange.  
Only, my family don't treat each  
other much better than I've treated  
everyone here. That's not meant to  
be an excuse. I want to make it up  
to everyone, if you will give me a  
chance.

_Hands a wrapped book to Daisy._

This isn't adequate for the injury  
I caused you. But I wanted you to  
have it.  
I'll be back tomorrow morning for  
your decision.

_He stands for a moment making eye contact with them, shifting_  
_his feet. He turns and leaves._

COURTYARD, DAY. JUST AFTER THE MEETING.

_Thomas stops behind a stone partition, taking out a cigarette_  
_with trembling hands. Anna walks up behind him, sees his_  
_tears._

ANNA  
There are a lot of people who would  
be happy to see this. I don't know  
why I'm not.

THOMAS  
You're moral. That's your  
limitation.

_Anna has nothing to say on this point._

THOMAS  
Mr. Bates, too, I suppose. But  
he's not as smart.

_Anna is not pleased, but Thomas continues._

THOMAS (CONT'D)  
And you stand up to people. You  
and Lady Sybil.

ANNA  
Are you missing her?

THOMAS  
I always miss her.

(BEAT)

THOMAS (CONT'D)  
I can't be like you.

ANNA  
I know. I'm not asking you to.

_Thomas turns and looks at Anna._

THOMAS  
I know you're not. You don't make  
judgements. You take people how you  
find them. That's not always good,  
you know. But you're not stupid.

_Anna has a dark thought of her own. Thomas sees her thinking_  
_and although he's not sure what about, he picks up on her_  
_feeling._

THOMAS (CONT'D)  
I'll tell you what though. I  
wouldn't-hurt you. That is, I never  
meant-

Silence.

ANNA  
What?

THOMAS  
I'll do things other people won't  
do. It's how I'm made, you see.

_He takes a long drag on his cigarette and stomps it out._

But when it came to Lady Sybil-and  
when it comes to you-Daisy even, I  
suppose... There are things-

_Thomas glances quickly behind Anna to see Bates exit the_  
_servants' door and enter the courtyard. Anna has not seen_  
_Bates yet._

THOMAS (CONT'D)  
There are things I wouldn't do.  
Even if I wanted to.

ANNA  
Well, that's something.

THOMAS  
It's more than you know.

_Anna looks at Thomas for a long moment._

_Bates calls Anna from across the courtyard._

_Anna nods at Thomas and goes to Bates. Thomas walks away._

ISOBEL'S HOUSE. DAY.

_Isobel in gardening apron and gloves is carrying baskets of_  
_flowers into the house._

_Lord Merton, escorted by the maid, appears in the doorway._

LORD MERTON  
How lovely.

ISOBEL  
Yes! These are my favorites and  
they've just opened. Tea?

LORD MERTON  
They are lovely flowers, as well.  
I'm afraid I have an errand after  
all. I must away.

ISOBEL  
I see.

_Now Isobel is confused. His first remark embarrasses her._  
_But he saves her._

LORD MERTON  
I was going to ask, though. I  
wonder-

ISOBEL  
Of course, yes.

LORD MERTON  
I'm sorry?

_Isobel is mortified, hearing herself jump the gun._

ISOBEL  
Yes. Urm. No-I-what were you going  
to say?

LORD MERTON  
Ah. Well, there's a new  
establishment in Moulton, not far  
from the gardens there. I thought  
we might have lunch and a walk  
tomorrow.

ISOBEL  
Yes, that would be fine.

LORD MERTON  
Very good. I'll pick you up at  
say, 11:00?

ISOBEL  
Yes.

_He turns to go, then turns back and smiles at her._

LORD MERTON  
Thank you.

ISOBEL  
For what?

LORD MERTON  
Thank you for deciding to give me a  
chance.

_He nods at one of the baskets._

May I have one?

_Isobel cuts him a flower. He holds it to his upper lip and_  
_smiles at her before he turns to go. He departs._

_Isobel sighs._

SERVANTS' DINING HALL. LATE AFTERNOON.

_Baxter is sewing on the machine. Mosely enters. She looks_  
_up, glad so see him, but distracted and a bit pale._

MOSELY  
Miss Baxter. How are you today?

BAXTER  
Very well, thank you Mr. Mosely.

MOSELY  
If there is anything I can do, I  
hope you would tell me.

BAXTER  
No, I-no, thank you.

MOSELY  
I do have a question, if you might  
have a moment.

BAXTER

_Gives him her full attention now._

Yes?

MOSELY  
Well, we, urm. That is, my father  
and I. We were wondering. If you  
might come for tea next week?  
Don't know if roses bore you, but I  
hope not. Dad will want to tell you  
all about his roses. There will be  
a tour.

BAXTER  
Does he grow any Yorkshire  
varieties?

MOSELY  
He's cross-bred several of his own.

BAXTER  
Oh, yes? Any rugosas?

MOSELY  
He's-well, he's won awards.

BAXTER  
Really?

MOSELY  
Yes.

BAXTER  
Urm...

Mosely waits with a bit of anxiety.

BAXTER (CONT'D)  
I suppose you can come, too, then.

(BEAT)

Mosely gets the joke and laughs. Baxter is smiling  
up at him.

MICK'S ROOM ABOVE THE PUB. EARLY EVENING. A LAMP BURNS.

_Thomas is lying on the bed shirtless, smoking. Mick is_  
_before the mirror in a dressing gown that hangs open,_  
_brushing his hair._

THOMAS  
You'll break my heart. Won't you?  
I'll just start to let down my  
guard-

MICK  
Do you think I'm false? That I  
would ever betray you?

THOMAS  
No. Not false. Just-popular.

MICK  
And so will you be!

THOMAS  
(Snorts) No, I'll never be popular.

MICK  
Well, I'm good at it. Let me help  
you.

_Mick runs to the bed and flops down beside Thomas, stretching_  
_out next to him._

Just don't fall in love with me.

THOMAS  
Is it that easy?

MICK  
Are you so delicate?

THOMAS  
Yeah. I think I am.

MICK  
Will you let that get in the way?

THOMAS  
Of what? Love, or a nice illusion  
of it? A chance of getting my job  
back? No. It's just a high price  
to pay.

_Mick strokes a finger down Thomas's chest._

MICK  
Not so high.

THOMAS  
Sometimes I feel like a train. If  
I jump the track I've been on for  
so long-I'll have nothing to run  
on. I can't run on the same road  
everyone else does.

_Mick crawls over Thomas, looking down at him._

MICK  
Pretend to not be a train, then.

THOMAS  
I already do that.

MICK  
Do it better.

_Mick kisses Thomas. Thomas slides his arms around Mick._

KITCHEN. LATE EVENING.

_ANNA is alone in the kitchen, washing her hands._

_She hears a noise at the back door._

V/O from hallway.

WRIGHT  
Anna? Urm-Mrs. Bates?

ANNA  
Yes, in here. Hello, Mr. Wright.

_Wright is drunk, stumbling slightly with a flask in his hand._

WRIGHT  
Forgive me, Ann - Mrs. Bates. But  
here. Here is the check.

_He holds it out to her unsteadily._

WRIGHT (CONT'D)  
You meant so much to my mother. I  
suppose I've already said all that.

ANNA  
Won't you sit?

WRIGHT  
No. I -

_He braces his hand on the table, wobbling. He gazes at Anna_  
_for a BEAT._

- you are quite lovely, you know.  
Mother said so. My Jennifer was so  
beautiful. Most beautiful girl I'd  
ever seen. Until the cancer.

ANNA  
I'm so sor-

WRIGHT

_Holds out the bottle._

Try for a little fun? No? There  
isn't really that much fun in the  
world, is there? You've got to  
seize it in the moment. The moments  
do fly. They do fly. Gone before  
you know it.

_His head is lowered and he is gazing at her, slurring._

WRIGHT (CONT'D)  
Do you know how successful I am?  
I'm a captain of industry. Worked  
my guts out. But in the end, did  
it matter? I've done well, Anna.  
Very, very well. And now what do I  
have? No one to spend it on. No  
one at all.

_Stumbles too close to Anna._

WRIGHT (CONT'D)  
No one.

_Anna is backed up against the counter, in nearly same_  
_location she was in when Green hit her. She is trembling._  
_She gropes the counter behind her. Her fingers curl around_  
_the handle of a cast iron pan._

_Bates enters the kitchen doorway._

BATES  
Anna?

_In two steps Bates has Wright by the elbow and pulls him_  
_back._

BATES (CONT'D)  
Mr. Wright.

WRIGHT  
(Surprised) Oh! Mr. Bates. Good  
evening. I was about to give Mrs.  
Bates-

_He begins patting his pockets._

ANNA  
Mr. Wright, you already gave me the  
check.

WRIGHT  
Did I?

BATES  
Mr. Wright, perhaps you had better-

WRIGHT  
Good God, what have I been doing?

_He stares at Anna._

You're frightened. I've frightened  
you.

_Anna takes a breath._

WRIGHT (CONT'D)  
My wife would be mortified.

_He turns to look at Bates._

WRIGHT (CONT'D)  
My mother would be ashamed.

BATES  
Mr. Wright-

WRIGHT  
I've clearly not only outstayed my  
welcome, but I've caused harm.  
Dear Mrs. Bates. Please-I-I will  
send a letter begging your  
forgiveness. I'm incapable of doing  
so properly at the moment. Mr.  
Bates, if I may ask-

BATES  
I'll help you to your car, sir.

_Wright is hanging onto Bates. He looks at Anna, even through_  
_his drunken haze, with deep regret._

WRIGHT  
I am so sorry.

ROBERT AND CORA'S BEDROOM. LATE EVENING.

Cora is in bed with Robert. She holds a book on her lap.

CORA  
Well, of course I believe my own  
daughter. I thought he was  
exceptional. But I put what Mary  
tells me first.

ROBERT  
I don't want to let him go. And I  
can't explain it, even to myself.

CORA  
Well, you'd better be able to  
explain it to Mary. She convinced.  
But who knows now? He may not even  
come back tomorrow and we may not  
even need to make a decision.

ROBERT  
Now I almost find that worse.  
Running off. Anyone with a war  
wound I would expect more of.

CORA  
Oh. Of course.

ROBERT  
Of course what?

CORA  
Military. That's the soft spot  
you've got. That and the cricket.

ROBERT  
It's nothing to do with any of  
that. It's simply doing what's  
right. And I am not sure what's  
right.

CORA  
Be careful.

ROBERT  
Of what?

CORA  
Saying all this in front of Mary.  
It's one thing to not trust your  
daughter with the future of an  
estate. It's another to put her  
word second to that of a servant.

ROBERT  
I have never said that.

CORA  
You just did.

KITCHEN. EVENING. WRIGHT HAS LEFT.

_Anna picks up the small cast iron pan she's been holding._  
_She looks at it, then sets it down on the counter with a_  
_slight bang._

_Bates strides quickly back through the servant's door and_  
_into the kitchen, scooping Anna into his arms. They hold_  
_each other for a BEAT._

ANNA  
All those feelings came back. Just  
like when it first happened! After  
all this time I thought I was  
better. But for a minute it was  
all exactly like that night-

BATES  
I know.

ANNA  
But I really think he was just  
drunk and bereft and trying to be  
kind.

BATES  
So do I.

ANNA  
But-

BATES  
Do you know I'm very glad that I am  
not expected to be a loader for the  
shooting lunches?

_Anna looks up at him._

BATES (CONT'D)  
I'm not particularly fond of the  
sound of gunfire.

_Anna nods. They have talked about it before. She knows._

BATES (CONT'D)  
It all comes back, as though I'm  
right back there again on the  
battlefield. Less and less over  
time, but it never goes completely  
away.

_Cups her face tenderly in his hands._

BATES (CONT'D)  
This is not a set back. All the  
way you've come, all the progress  
you have made is still yours and it  
can't be taken from you. You earned  
it, it belongs to you. These things  
come back when they choose to. But  
you've already defeated the past.  
You've already won, my darling.

_They hold each other. Anna looks up. She sighs._

ANNA  
John. Take me home.

NIGHT. THE GARDEN OUTSIDE LADY GRANTHAM'S HOUSE. MOONLIGHT.

_Violet is in her robe, sitting on a marble bench. She is_  
_looking at the moon and shivering, and talking softly to_  
_someone who is not there._

VIOLET  
But you must see. It's not his  
fault. He would never hurt me.  
Never. You can't judge-

WITHIN THE HOUSE

_Sprat appears in his robe, blinking in the moonlight as he_  
_looks out the window. His expression changes to one of_  
_alarm._

_Sprat enters garden._

SPRAT  
My Lady?

_Violet looks up, mortified. There is an electric pause._

SPRAT (CONT'D)  
It seems you might have been  
sleepwalking, my lady. Might I  
escort you back to your room?

_Violet is grateful. She is very cold. Sprat takes off his_  
_robe, being only in his pajamas, and wraps it around her to_  
_escort her in._

VIOLET  
Yes. I-I must have. Thank you,  
Sprat.

MICK'S ROOMS ABOVE THE PUB. LATE NIGHT.

_Thomas and Mick are in bed, lit only by moonlight from the_  
_window. Mick is stroking Thomas's hair._

MICK  
Something else to think about,  
naughty boy. A good-looking boy  
with your experience might get on  
at the Savoy. Have you thought of  
that? And the Savoy is not the  
only establishment in London. You  
know the old ways and you'll pick  
up the new.  
Why stay at a country estate that  
will end up rotting and full of  
bats? Get your reference. Get on as  
an omnibus boy at a good club, work  
your way up. There are many, many  
men in London, Naughty. Hotsy-totsy  
and they go that way. I'll bring  
you out. Think about it. You  
don't have to stay here.

COTTAGE. NIGHT.

_Bates lights the lamp at the desk, which fills the front room_  
_with a soft light. Anna stands next to him._

ANNA  
And now, there's this. I haven't  
even looked at it yet.

She opens the check.

They stare at it.

_She drops it on the desk. She wraps her arms tightly around_  
_him and lays her cheek on his chest._

ANNA (CONT'D)  
Do you want a bigger hotel?

BATES  
No. Let's stick with something easy  
to manage, but profitable enough.  
And as you said, have a bit put by.

ANNA  
That won't be as much of a worry.

BATES  
No, it won't.

ANNA  
I can't think about this now.

BATES  
Let's not. Let's just go to bed.

ANNA  
What a perfect idea.

_Still with her cheek on his chest, she looks down at the_  
_desk, touching a stack of letters._

ANNA (CONT'D)  
You have such a correspondence  
these days. Properties?

_Bates kisses her, long and deep._

CLOSE UP AS HE LOOKS DOWN AT HER FOR A  
(BEAT).

BATES  
Come on. Bed.


End file.
